St. Jerome 1651

Editor: Here we have Ribera’s "St. Jerome," from 1651, oil on canvas. It's at the National Museum of Capodimonte, Naples. He looks so forlorn! What strikes me is how aged and tired St. Jerome seems to be here. What do you see in this piece, something I may have missed? Curator: Ah, Jerome. Forlorn indeed. Ribera, nicknamed "Lo Spagnoletto," or "the little Spaniard," certainly didn’t shy away from portraying the ravages of time. It's that Baroque interest in stark realism, wouldn't you say? But look beyond the weariness. What does the skull tell you? What about the act of writing, and the contrast of the vibrant red against the somber browns of the background? Editor: I guess the skull is about mortality, and I hadn't considered the colour contrast with his robes, a statement about his vitality even as his body ages, right? Curator: Exactly! Think about Jerome’s life. He translated the Bible into Latin, dedicating himself to scripture, knowing life is fleeting. The skull is the "vanitas" symbol, and Ribera paints him caught in the act of creation, perhaps a commentary on leaving one's mark on the world. The red – the color of blood, sacrifice, passion. Don't you find it poignant, the way Ribera captured his intellect refusing to dim, despite the crumbling exterior? Editor: That really reframes how I see the work now! Initially, I felt sadness, but there's also defiance there, resilience. Curator: Yes, there is! Next time you see an 'old' painting, think about the dance between decline and dedication. See if you can find the stories hidden beneath the surface. What did you make of the light? Editor: That's so fascinating! Ribera really used that stark lighting to highlight the physical effects on St. Jerome and gave a story of defiance. I had missed that the light illuminates Saint Jerome while obscuring everything else! Curator: Indeed! Never underestimate the power of a good light! It helps you 'see' beneath the painting to glimpse into the world, of Saint Jerome!